The dispositif of the moving and projected image, defying its ossification under the weight of seventies-era apparatus theory, has returned to prominence. Screen architectures and moving-image installations have characterized a large-scale reconfiguration and reimagination of the dispositifs of cinema in the decades leading from the late twentieth into the early twenty-first century. The architecture of the moving and projected image has been at the center of this renewed focus on the dispositif. Scholarly accounts too often try to retroject works from this period into a genealogy rooted in the discourse of American Minimalist art (and related phenomenological concerns), or else recycle an older rhetoric of immersive spectatorship and theories of the spectacle.